Entertainment Weekly's Scores

Select another publication »
For 7,797 reviews, this publication has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 2 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 13th
Lowest review score: 0 Wide Awake
Score distribution:
  1. Positive: 4,958 out of 7797
  2. Mixed: 2,079 out of 7797
  3. Negative: 760 out of 7797
7797 movie reviews
view
per page
  1. The Kid Stays in the Picture
    A candy store for film buffs.
  2. Startup.com
    For sheer dramatic wallop outpowers virtually every fiction feature I've seen this year.
  3. Harry Is Here to Help
    A suspenseful and delightfully creepy French drama.
  4. The Full Monty
    The comic moments in this ingratiating bit of malarkey from director Peter Cattaneo and screenwriter Simon Beaufoy (both TV trained, both making their feature debuts) are winning.
  5. Roger Dodger
    A little too programmed in its despair, but it coasts along on the jagged music of the modern lothario's song.
  6. Liberty Heights
    But Levinson's passion to explain how he got from there to ''Sphere'' gives Liberty Heights its own farkatke Hollywood integrity.
  7. The Deserted Station
    Slow going, but I mean it as no insult when I say that it bored me, in the end, to tears.
  8. Kitchen Stories
    The icy whimsy of Kitchen Stories is certainly well sustained, but you don't laugh at the movie so much as wait for the joke to thaw.
  9. Les amitiés maléfiques
    While the young people chatter about life and literature with sometimes overbearing self-satisfaction, the astute filmmaker observes their pretentious gum-flapping with a mixture of amusement, compassion, and wised-up rue.
  10. Whitney
    Whitney feels like the kind of film anyone who cared at all about her should see: the fullest portrait yet — if one that will always, inevitably fall short — of a singular artist and human being who may have eluded understanding in the end, but still gave the world far more than she ever got back.
  11. Catch Me If You Can
    The film's charm ends up worn out by the very perfection of Frank's con. We look at this teen wizard of rotating identity, and we realize we know everything about him except who he is.
  12. X-Men: Days of Future Past
    Not surprisingly, the best thing about Days of Future Past is that it's heavier on the days past than future.
  13. Land of Mine
    Land of Mine is essentially bomb porn.
  14. Thoroughbreds
    What begins as a gleefully nasty piece of work gradually picks up more nuance as it goes, adding dimensions to characters who could easily have coasted on the story’s arched-eyebrow burlesque.
  15. The LEGO Batman Movie
    LEGO Batman revs so fast and moves so frenetically that 
it becomes a little exhausting by the end. It flirts with being too much of a good thing. But rarely has corporate brainwashing been so much fun and gone down with such a delightful aftertaste.
  16. A Prairie Home Companion
    What sustains the film is the performers' belief in their shaggy-dog selves, which is more than just talent - it's faith.
  17. Funny or Die Presents: Donald Trump's the Art of the Deal: The Movie
    It’s utterly demented, slightly terrifying, and most of all hilarious. It’s also one of the giddiest and most stinging political satires since Thomas Nast took on Tammany Hall.
    • 75 Metascore
    • 91 Critic Score
    Microbe and Gasoline
    By the end of Microbe & Gasoline, we feel a little closer to the boy who made the man behind the camera as a result.
  19. Must Read After My Death
    Did granny intend this stuff for strangers? We'll never know. File this ''therapeutic'' movie, well made and creepy, on the dysfunction-as-art shelf next to "Capturing the Friedmans."
  20. Baadasssss!
    The beauty of Baadasssss! is the way Mario Van Peebles salutes his father's truth by coaxing it into legend.
  21. Trainwreck
    Beneath all of his bad-boy shtick, Apatow’s always been a pretty conventional moralist. But Schumer gives their raunchy rom-com enough of her signature spikiness to prevent it from ever feeling predictable.
  22. The Specialist
    This lone, fallen Nazi's obsessive distance from his actions is enough to give The Specialist a lingering chill.
  23. Secret Ballot
    Charms with its amalgam of absurdity, optimism, humor, and avuncular regard for the million small daily chores, rituals, suspicions, and courtesies of dwellers on even the sparsest spots on earth.
  24. The Believer
    Bean's commitment to serious theological examination is exciting, Gosling's performance is riveting, and this fiery and imperfect feature shines as a demonstration of independent filmmaking at its most uncompromising.
  25. About a Boy
    Hugh Grant has grown up, holding on to his lightness and witty cynicism but losing the stuttering sherry-club mannerisms that were once his signature. In doing so, he has blossomed into the rare actor who can play a silver-tongued sleaze with a hidden inner decency.
  26. In This World
    Realer and more consequential than much being packaged for TV and movies these days as ''reality,'' the fictional In This World unfolds with the deceptive dispassion of a documentary, but builds with a sure sense of dramatic epic.
  27. Guerrilla: The Taking of Patty Hearst
    A gripping documentary that uses voluminous period evidence — unedited news footage, tape recordings of SLA leader Cinque's rants — to brilliantly reconstruct the entire freak event.
  28. Emily
    There's something gently intoxicating about O'Connor's dreamlike pastoral settings — oh, those wily, windy moors! — and her determination not just to rewrite Emily, but set her free.
  29. This Film Is Not Yet Rated
    Has a bright, dishy spirit.
  30. 10,000 km
    It’s a decent critique of romance in the digital age—until you realize how boring it is to watch people break up on Facebook.
  31. Orlando
    As a fantasy, Orlando has been spun out of a rather glib idea: that the mere assertion of Androgyny As Destiny is automatically a brave, emotionally triumphant stance for our time. The truth is, when androgyny is shrouded in this much deadening ”art,” it becomes little more than a haughty exercise in academic chic.
  32. Bastard Out of Carolina
    The agonizing moments that convey what it's like for Bone to feel helpless and afraid of Daddy Glen even when he's not torturing her are where the art is. The pornographic violence is artifice. [13 Dec 1996]
    • Entertainment Weekly
  33. Okja
    Okja in it. It’s the antithesis of cookie-cutter, made-by-committee filmmaking. Prepare to be amazed, grossed out, provoked, punchdrunk, and tickled.
  34. Omar
    With the exception of Waleed F. Zuaiter, who does a remarkable good-cop act as an Israeli agent, the cast is composed of first-time actors who bring realism to a tragic story. It manages to punch you in the gut and break your heart at the same time.
    • 75 Metascore
    • 83 Critic Score
    Manhunter
    The brilliance of Michael Mann's Manhunter is that it appreciates that the true nexus of humanity is our shared closeness.
  36. Titane
    In an era when nearly everything that can be done on film already has been, Titane forges something sensational from nerve and pure metal, and makes it new.
  37. Mission: Impossible - Rogue Nation
    Rogue Nation may not be the best, the tightest, or even the most logically coherent M:I flick, but there should be more movies like it: relentlessly thrilling, smart entertainments for folks who can’t tell the difference between Quicksilver and The Flash—and aren’t particularly interested in trying to learn the difference either.
  38. Frozen
    Frozen is a squarely enchanting fairy tale that shows you how the definition of what's fresh in animation can shift.
  39. Solas
    After all of its sadness, a tender redemptive glow.
  40. On the Run
    Genre-hoppers like Steven Soderbergh ought to love this neat triple doozy. [Note: From a review of the entire trilogy.]
  41. S21: The Khmer Rouge Death Machine
    Yet S21, unlike many documentaries about the Nazi era, isn't a sickening panorama of brutality. Shot on video, it's quiet and intimate.
  42. True History of the Kelly Gang
    You can see gifted actors like Hoult and MacKay struggling to make the most of the material, and add finer shadings to Shaun Grant's bare-knuckled script. But for all its real visual flair, it's hard not to feel that the film misses something crucial about Kelly in the end — trading machismo for manhood, and sensation for true history.
  43. Life, Animated
    The Suskinds’ humongous hearts are obviously in the right place and their openness is to be admired and encouraged — even if a book, more than a movie, remains the better venue to fairly and honestly tell Owen’s extraordinary story.
  44. Waitress
    A wee romantic charmer, a delectable Dixie screwball romp that never loses its spry sense of discovery.
  45. Who's Afraid of Virginia Woolf?
    It features the best real-life husband-wife pairing onscreen ever.
  46. The Skeleton Twins
    It's a shockingly vulnerable performance (Hader), one of the best I've seen all year.
  47. Marina Abramovic: The Artist Is Present
    We're given an intimate seat to this wildly democratic - and creepily messianic - spectacle.
  48. The Bridesmaid
    If The Bridesmaid is middle-drawer Chabrol, it's almost worth going to just to watch Laura Smet, a vamp of not-so-basic instinct.
  49. Natural Born Killers
    Stone takes his characters right over the top, rubbing our noses in our own lust for excess, and some viewers are bound to say that he's gone too far. Yet this may be one case where too far is just far enough-where a gifted filmmaker has transformed his own attraction to violence into an art of depraved catharsis.
  50. Me and Earl and the Dying Girl
    Somewhere along the way Earl eases up on the suburban–Wes Anderson whimsy and starts to find its heart, infusing the story’s self-conscious cleverness and trick-shot set pieces with something sweeter, sadder, and even a little bit profound. In other words, it grows up.
  51. Drunk Stoned Brilliant Dead: The Story of the National Lampoon
    Douglas Tirola’s doc about the satirical bible’s rise and fall is fascinating, funny, smart, juvenile, tragic, and likely to offend just about everyone. It’s a must-see for anyone who cares about comedy.
  52. 78/52: Hitchcock’s Shower Scene
    In 1960 this was a shocking, sexually charged symphony of taboo-smashing terror. And thanks to the artistry of Alfred Hitchcock, it remains one today.
  53. Sicko
    The Cuban escapade, designed to provoke, backfires when he loses focus by including Cuban firefighters in an homage to 9/11 first responders.
  54. Monster
    In Monster Theron undergoes one of the most startling transformations in the history of movies.
  55. The Lady and the Duke
    The technique is impressive. But it would count for little if the human story -- of a magnetic, resourceful, and, in the way of all Rohmer heroines, articulate woman who was mistress to the Duke of Orleans -- weren't engrossing on its own dramatic terms.
  56. Daddy Longlegs
    A disconcertingly jumpy tale of breathtakingly crummy parenting, the windblown movie dares a tolerant audience not to call Child Services.
  57. A Bigger Splash
    This reworking of the 1969 erotic thriller "La Piscine" beautifully explores the difficulties of communication. Aging rock star Marianne Lane (Tilda Swinton), muted by vocal surgery, is dealing with Harry (Ralph Fiennes), a former flame.
  58. Tabloid
    At 88 minutes, Tabloid is short and sweet (it's pure movie candy), but by the end we've forged an emotional connection to Joyce McKinney at the deep core of her unapologetic fearless/nutty valor. And that's what really makes a great tabloid story: It's a vortex that's also a mirror.
  59. What Maisie Knew
    In this bleak indie bummer that confuses hopelessness with depth, they're really nothing more than selfish, one-dimensional monsters. Maisie's better off without them.
  60. Key Largo
    Key Largo is heaps of fun if you’re willing to go along for the ride, but perhaps slightly more silly than audiences might expect (or creators intend).
  61. Janis: Little Girl Blue
    The portrait that emerges is one of a brash, talented girl who grew up an outcast in her small Texas town.
  62. Frankenweenie
    Frankenweenie is a cool little flipbook of historical Burtonian style. It even brings back old friends, including "Beetlejuice's" Winona Ryder and Catherine O'Hara.
  63. Divine Intervention
    Too fragmented to be much more than a flip of the finger to history; the movie, with its mostly mute characters, is too content to plod.
  64. Black Hawk Down
    Even an audience moved to tender patriotism might wonder how Scott, a proven master of ''Gladiator''-size visual showmanship, could have bombed away the personality of every man fighting until he's left with nothing more than pure combat.
  65. Southside with You
    Southside doesn’t hang on epiphanies; instead, it delivers something more modest: a tender, unrushed love story.
  66. Rize
    As long as it showcases the art of krump, underscoring the dancers with ominous hip-hop beats, Rize is such a vibrant eruption of motion and attitude that you can forgive the film for being disorganized and too skimpy on street-dance history.
    • 74 Metascore
    • 91 Critic Score
    Wild
    Vallée has taken a contemplative book where, frankly, very little happens and transformed it into a gut-punching drama.
  68. On the Count of Three
    The movie settles into the blackest kind of buddy comedy — a lacerating slice of nihilism rooted in real despair, and real I-love-you-man tenderness too.
  69. Raya and the Last Dragon
    If Raya's outlines and endpoint are strictly fairy-tale familiar (evil is vanquished, good triumphs, reconstituted dragons romp), the movie feels fresh not just for the mere fact of its female-forward and predominately Asian cast, but for the breeziness with which it bears the weight of Disney history.
  70. Humpday
    Anna's thoughts matter because, as played by the wonderfully nuanced newcomer Alycia Delmore, the no-bull responses of this perceptive woman are a key to Humpday's sly, wised-up feminist outlook.
  71. Polisse
    The film can be rambling and glib, yet it's no mere crime drama. It captures a middle-class French society that looks more humane than ours, but is just as messed up.
  72. The Sea Inside
    The classy production, with its aesthetic graces, is especially convincing about the charisma of the man, a performance specialty of the great Bardem.
  73. The Others
    The gimmicks, in the end, are too arbitrary to tie together in a memorably haunting fashion, though they do culminate in a Big Twist, a nifty one that almost -- but not quite -- makes you want to see the movie again.
  74. Flushed Away
    Flushed Away lacks the action-contraption dottiness of a Wallace and Gromit adventure, but it hits its own sweet spot of demented delight.
  75. Awakenings
    And so even if you're held (as I was) by the acting, you may find yourself fighting the film's design. It reflects a certain lack of faith in your audience to take a performance as authentic as De Niro's and reduce it to the level of a glorified reach-out-and-touch-someone commercial.
  76. Catherine Called Birdy
    A sly fairytale about a medieval tween that manages to be both cheeky and modern without losing its heart.
  77. Western
    The two are unlikely compadres — no Hope and Crosby, just a couple of average guys walking, talking, and looking for the love of good women. But Poirier establishes an attractive, believable friendship between the immigrants.
    • 74 Metascore
    • 58 Reviewed by
      Ty Burr
    Thirteen Conversations About One Thing
    Judging by the title, though, Sprecher made the movie she wanted to make, and if you're in the right damp-wool mood, you may connect with it too.
  79. The Hunchback of Notre Dame
    The Hunchback of Notre Dame is a beautiful and transporting experience — the best, I think, of Disney’s serious animated features in the multiplex era.
  80. Jackass Forever
    There's a deeper idea here — really! — and it's one that only gets more obvious with time, something to do with arrested boyhood and the gleeful self-ruination of one's own body.
  81. Duck Season
    Duck Season unfolds with a slaphappy logic that only looks casual. In fact, every unfinished conversation and banal picture on the wall (one's of ducks) matters as four little people share one memorable little day.
  82. Inception
    As engrossing and logic-resistant as the state of dreaming it seeks to replicate, Christopher Nolan's audacious new creation demands further study to fully absorb the multiple, simultaneous stories Nolan finagles into one narrative experience.
  83. Serenity
    Jaw set but never stiff, he (Fillion) gets both the Whedon wit and the Whedon grandiloquence between cheek and gum, and gives the whole enterprise the heft of a real saga.
  84. The Life of Jesus
    It’s only when you’re in the grip of the climax that you realize how richly the filmmaker has painted a landscape that to other eyes might appear so parched.
  85. Casting JonBenét
    A clever filmmaking experiment? Without a doubt. A satisfying one? Not so much.
  86. The Last King of Scotland
    Drawing on a documentary visual style he deftly employed in "One Day in September" and "Touching the Void," director Kevin Macdonald uses McAvoy's boyishness to treat Garrigan's apolitical foolishness as yet another damn mess in one African country's hell.
  87. Cast Away
    Hanks towers as a near naked, near biblical man. Zemeckis tells his story -- the screenplay is by William Broyles -- with a control magnificent in what isn't shown as much as in what is.
  88. Tomboy
    The startling power of Tomboy, a beautiful, matter-of-fact French drama about a young girl who wants to be a boy - and for one singular summer around her 10th birthday passes as one - begins with the one-of-a-kind natural performance by Zoé Héran as Laure.
  89. The Orphanage
    You're either in the mood to go along with the puzzle pieces or you're not. I'm not usually a puzzle-piece fan myself, not when it's clear that the filmmaker rigs the moves. But I couldn't help but fall for the repurposed real estate, and cheer for the lady strong enough to break through walls when she senses a child is waiting.
  90. Bones and All
    Take away the people-eating, and it could almost be a Springsteen song. Which often makes it feel, in a strange way, like Guadagnino's most traditional film to date — a born provocateur's faithful ode to a classic cinematic genre, only with human gristle between its teeth.
  91. Dune: Part One
    The sheer awesomeness of Villeneuve's execution — there might not be another film this year, or ever, that turns one character asking another for a glass of water into a kind of walloping psychedelic performance art — often obscures the fact that the plot is mostly prologue: a sprawling origin story with no fixed beginning or end.
  92. The Invitation
    Kusama ratchets the story’s tension masterfully, building to a final shot that’s as chilling as it is perfect.
  93. End of the Century
    A documentary that digs deep inside this most revolutionary and tortured of punk quartets, it's hard not to feel that the Ramones, who never had a hit record, were the greatest band in 50 years to be stonewalled out of success.
  94. Joe Gould's Secret
    A delicate yet haunting movie, a meditation on friendship, on the roots of bohemianism, on the sad comedy of madness.
  95. Red Lights
    It evokes the spirit of Hitchcock and Highsmith.
  96. Ocean's Eleven
    It's a scrumptious and dizzy-spirited lark, a what-the-hell-let's-rob-the-casino flick made with so much wit and brains and dazzle and virtuosity that the sheer speed and cleverness of the caper hits you like a shot of pure oxygen.
  97. Wonder Boys
    Sweet, flaky, and more than a little aimless.
  98. Forty Shades of Blue
    Director Ira Sachs moves to the rhythms of his native Memphis, teasing emotional resonance out of geography.
  99. Mysterious Skin
    Mysterious Skin dawdles more than it flows, but it comes alive whenever Araki, hovering between tragedy and voyeurism, reveals how sex can tear lives to pieces.
  100. Rush
    Rush hits a few potholes, but in the end it reveals the psyches of two men who only feel alive when they're cheating death.
Page:

Top Trailers

See all »
See all trailers »